Table Of ContentA Persian Requiem is a powerful and evocative novel. Set in the southern
Persian town of Shiraz in the last years of World War II, when the British
army occupied the south of Persia, the novel chronicles the life of Zari, a
traditional, anxious and superstitious woman whose husband, Yusef, is an
idealistic feudal landlord. The occupying army upsets the balance of
traditional life and throws the local people into conflict. Yusef is anxious to
protect those who depend upon him and will stop at nothing to do so. His
brother, on the other hand, thinks nothing of exploiting his kinsmen to
further his own political ambitions. Thus a web of political intrigue and
hostilities is created, which slowly destroys families. In the background,
tribal leaders are in open rebellion against the government, and a picture of
a society torn apart by unrest emerges.
In the midst of this turbulence, normal life carries on in the beautiful
courtyard of Zari’s house, in the rituals she imposes upon herself and in her
attempt to keep the family safe from external events. But the corruption
engendered by occupation is pervasive – some try to profit as much as
possible from it, others look towards communism for hope, whilst yet
others resort to opium. Finally even Zari’s attempts to maintain normal
family life are shattered as disaster strikes.
An immensely moving story, A Persian Requiem is also a powerful
indictment of the corrupting effects of colonization.
A Persian Requiem (first published in 1969 in Iran under the title
Savushun), was the first novel written by an Iranian woman and, sixteen
reprints and half a million copies later, it remains the most widely read
Persian novel. In Iran it has helped shape the ideas and attitudes of a
generation in its revelation of the factors that contributed to the Islamic
Revolution in 1979.
Simin Daneshvar’s A Persian Requiem … goes a long way towards
deepening our understanding of Islam and the events leading up to the 1979
Revolution … The central characters adroitly reflect different Persian
attitudes of the time, attitudes that were eventually to harden into support
for either the Ayatollah and his Islamic fundamentalism or, alternatively,
for the corrupting Westernisation of the Shah. The value of the book lies in
its ability to present these emergent struggles in human terms, in the day-
to-day realities of small-town life … Complex and delicately crafted, this
subtle and ironic book unites reader and writer in the knowledge that
human weakness, fanaticism, love and terror are not confined to any one
creed.
The Financial Times
A Persian Requiem is not just a great Iranian novel, but a world classic.
The Independent on Sunday
… it would be no exaggeration to say that all of Iranian life is there.
Spare Rib
For an English reader, there is almost an embarrassment of new settings,
themes and ideas … Under the guise of something resembling a family saga
– although the period covered is only a few months – A Persian Requiem
teaches many lessons about a society little understood in the West.
Rachel Billington, The Tablet
This very human novel avoids ideological cant while revealing complex
political insights, particularly in light of the 1979 Iranian revolution.
Publishers Weekly
A Persian Requiem, originally published [in Iran] in 1969, was a first novel
by Iran’s first woman novelist. It has seen sixteen reprints, sold over half a
million copies, and achieved the status of a classic, literally shaping the
ideas of a generation. Yet when asked about the specific appeal of the novel,
most readers are at a loss to pinpoint a single, or even prominent aspect to
account for this phenomenal success. Is it the uniquely feminine
perspective, allowing the reader to travel freely between the microcosm of
the family and the larger framework of society? Is it the actual plot which
mimics so presciently the events of the Islamic Revolution? Or does it lie in
the deftly woven anecdotes and fragments which add up to a descriptive
whole? It is each and all of these, and perhaps more.
Feminist Review
Daneshvar offers a fascinating, detailed view of what seems to Western
eyes the complicated, rarified world of Iranian culture.
Belles Lettres
In addition to being an important literary document of historical events, [A
Persian Requiem] represents a pioneering attempt to probe the multi-
faceted aspects of Iranian womanhood in a period of great social and
political upheaval.
San Francisco Review of Books
Daneshvar combines creative vision with an exceptional talent for
conveying atmosphere to give a powerful portrait of the struggles and
dilemmas of ordinary individuals caught in the maelstrom of war and
occupation.
Middle East International
This is a colourful and accurate portrayal of Persian character and spirit, a
beautifully evoked picture of traditional life in times of upheaval. Its
popularity in Iran is eloquent of Persian perceptions not only of themselves
but also of the role of the British in their country. Roxane Zand is to be
thanked for giving the English reader the chance to enjoy this sensitive and
important novel.
British Journal of Middle Eastern Studies
A powerful portrait of a bygone era of Iranian social history.
The Jerusalem Post
“…a revelation of freshness and vivacity…”
Anita Desai
“Not to be missed.”
Shusha Guppy
“Beautifully translated, and many-layered, A Persian Requiem challenges
convention, of east and west.”
Fred Halliday
“…a great work by a great Persian writer.”
Han Suyin
A PERSIAN REQUIEM
A Novel by
Simin Daneshvar
Translated by
Roxane Zand
Contents
Praise
Title Page
About the translator
Acknowledgements
Map
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Glossary
About the Author
Copyright
About the translator
Roxane Zand was born in Tehran. She studied Comparative Literature at
Harvard University, and Social History at Oxford University. She takes a
strong interest in women’s issues.
Acknowledgements
I would like to thank the following for their generous help and involvement
with this translation, ever since it was first undertaken, and throughout the
many years it collected dust or met with misadventure: Dr. John Gurney,
Keyvan Mahjour, Mohsen Ashtiani, the late Dr. Hamid Enayat, Aamer
Hussein, Iradj Bagherzade and Ali Gheissari.
A special thanks to Simin Daneshvar whose place in our hearts extends
beyond that of artist and humanist to a particular kind of inspiration. My
gratitude for her patience and loyal support.
Finally, my love and thanks to Hamid who has journeyed with me
through this book, and to my sons, Vahid and Karim.
This translation is dedicated to the memory of Amou Sarrafi, who first
introduced me to it in 1969.
Roxane Zand
